AN ART CENTER FOR THE
CAMBRIDGE ART ASSOCIATION
THESIS REPORT:
Submitted as partial fulfillment of the requirements for
the degree of Master of Architecture.
TO:
Professor L. B. Anderson
School of Architecture and
Planning
Massachusetts Institute of
Technology.
September, 1952.
BY:
obert A. Eckert,
B. Arch.
TABLE of CONTENTS
Page
Letter of Submittal
Abstract
6
Acknowledgements
.
.
I
Introduction
Purpose
*
*
a
a
Present Organization
*
3
.
d
.
I9
.
5o
.
33.
History
A New Program
The Future
-
The Essence
In General
Exhibition Design Study
Introduction
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
The Object - Spectator Relationship
Scale
.
.
.
.
.
Angle of Vision
Circulation
.
.
.
12
.*
.
.
.
.14
.
.
.
.
The Object - Background Relationship
13
Proportion or scale relation
Volume Value
object Relation
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.
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.
*
1
.0
0
a
Color
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.
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.0
g
Texture
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.
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.0
1
Visual Axis
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1
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l6
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-0
1
Relation of Materials
Frame
.
.
.
table of contents (cont.)
Page
Sequence Relationship
Geometry
.
.
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.
S.
,
.0
1
.
is
Scale
Color
.
*
0
The Isolated Piece
Material
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0
0
0
9
0
0
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*
0
Is
0
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-
-
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0
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'
28
14
Form or Shape
Illumination
-
-
Natural light
Artificial light
.
20
.
20
-.
A
Site Factors
.*2
Proposed
25
.
Present
.
..
'g
.02
Proposed Space Developement
The Design
Bibliography
36
0
31
100 Westgate
Cambridge, Mass.
September, 1952
Dean Pietro Belluschi
Department of Architecture
and Planning
Massachusetts Institute of Technology
Dear Dean Belluschi:
As partial fulfillment of the requirements for the
degree of Master of Architecture, I respectfully submit
this thesis entitled
"An Art Center for the Cambridge
Art Association"
Sincerely yours,
qiert
A. Eckert
~
AN ART CENTER for the
CAMBRIDGE ART ASSOCIATION
by
Robert A. Eckert
ABSTRACT
The Cambridge Art Association is a very active and
fast growing organization located at 37 Palmer Street in
Cambridge, Massachusetts.
The activities and membership
of the group are increasing rapidly, however, the basement
space, which now serves as a combination gallery, studio,
and social space, is very inadequate in all respects.
Included in this thesis is a program and design for
the relocation and building of a new headquarters which would
adequately serve the association and public.
As a prelim-
inary study toward this design, the results of an extensive
research, regarding the many problems involved in gallery
and exhibition design, is also included.
Acknowledgments, with appreciation, is given to the following:
Faculty and Staff Members:
School of Architecture and Planning,
Massachusetts Institute of Technology
School of Architecture
Harvard University
Students:
Graduate Class of Architecture, 1952
Massachusetts Institute of Technology
Miss Colgate:
President of the Cambridge Art Association
Miss Margarett Brown:
Margarett Brown Gallery
Mr. Hayes:
Architect on museum expansion
Cleveland, Ohio
Miss Barbara Hodder:
Secretary, Boston, Mass.
1.
INTRODUCTION
HISTORY
The Cambridge Art Association was first organized in
1945 after a group of the local people discovered their
mutual interest while selling old paintings for war bonds
to help the war effort.
The same spirit that was expressed
during this drive has remained as the organization has grown
in number and activities.
It has made it a very democratic
and energetic group which operates with a full program of
educational and social activities.
PURPOSE
"The importance of art today is growing and will continue to grow as the public and educators recognize the
value of art in the mental growth of every child and as
more adults look to art for their leisure time, pleasure
and as a release from the tension of the times." 1
There is need in almost every community for a definite
program for the person who would like to express himself
in the field of creative art.
A person subjected to the
laissez-faire method usually found at a hobby shop may soon
become lost and lose interest.
1.
Victor D' Amico - Creative Art
The Museum of Modern Art
Volume XlX No. 1 1951
PRESENT ORGANIZATION
The Cambridge Art Association was organized to give
this program to the people of Cambridge who are interested.
Its three main purposes are as follows:
a.
to help people derive satisfaction
from participation in a creative
activity
b.
to educate the public in understanding
the importance of creative experience
c.
to stimulate art for the purpose of
general education.
The only references you need to share a part in this
program is a good character reference.
The membership is
open to and made up of local people of a variety of interests
and backgrounds.
There is a large turnover and there has
been a steady increase in membership from the original 25
to approximately 300.
As long as there is space for addi-
tional activities there is every indication that this number
will continue to increase.
The association itself holds no classes at present,
however, there are a number of classes going on al long as
there is space for it.
This space is rented by groups and
individual teachers who hold these classes, many of which
are in the evening.
Exhibits are planned in advance, published and an
attendent is on hand at all times.
The limitation in space,
however, has forced the Spring Show and other large programs
into other buildings.
There is an abundance of social activities and parties
which help keep the spirit of the group high.
for this is
quite inadequate,
also.
The space
37 Palmer
Street,off Church Street
WINTER AND SPRING CALENDAR, 1952
FRENCH ART OF THE TWENTIETH CENTURY
O
ig
Exhibition in banks and store windows
January 6, 7 -- 9 p.m.
April 20 - May
M
MANLEY BUTLER -
SCULPTURE
by members of the Now
Sculpture and the Camib
Openg Jna2,3-6
5TH ANNUAL HARVARD SQUARE SHOW
land Association for Contemporary
go Art Association
p.
-
KATHERINE COMPTON and ELIZABETH FERRY
Landscapes
April 38 - May 10
BESSY CREIGHTON
Pintings and Prints
and
DAPH
FNE
DUNBAR
May U2s
Watercolors
GROUP SHOW by Members-
BARBARA LADD - Pottery
February 4 - 16
er a
PAINTINGS by Ten Members
DUES
February 18- 23
ARTHUR GALLA RT -
Active $3e Associate *5: Suataining,1125
Treasurer - Mr. John F. Davis, 3 Arlington St., Cambridge
Paintings and Drawings
SKETCH GROUP
February 25- March I
Monday
CONSTANCE WILLISTON - Watercolors
PRINTS by Members
CARABED DER HOHANNESIAN
GIBBS -
Art Discussion May 25
and HOWARD
Paintings
March 17 - 29
Opening March 16, 4 -6 p.m-
8TH ANNUAL SPRING EXHIBITION
vengs,= 4 7i30-9930 p.m.
Re charg* per ev*i*"g
Profevssio'nA models.
MORNING STUDIO GROUP
Monday morning, 10 am. -- 12 noon
Portrait Model - 50e charge per morning
GA LI.ERY RENTAL
Hours 12 to 5 pim. The charge Is IM a week,
mlse*and studio proe,
including an attenane. For
available mornings and evenings= For further infomtion
GrC"in,22"si e. Greely Curtis, 77 Sparks
apply to
For exhitions -
Marek 24 - April 12
atteuse
ecsingr Museum - Harvard, University
BARBARA PIERCE - Paintigs
March 31-Apri 12
STUDENT EXHIBITION
Museu of Fine Art, The Camnridge School
The School ot
of DesignandTh Maacthusetts Schol of Art
April 14 26
Lieture April 13 free for members, 50e for guests
PRINT ROOM
A small anery, exellently
suited for the diep
of drawings,
prints, pottery and jewelry, renting for $7.5 o a two Iweek
information apply to GaeyChairma
For further
Wrfod.
ra. ibhard
Edsall, IS Walkof Street, Carmbrkde. TR 6-29
CLASSES
The Art Association holdsnocassbu-igldtlsthr
Mr. Charles Wadsworth - Private class in drawing and painting
Wednesday evening, 8 - 10 p.m.
A NEW PROGRAM
I.
THE FUTURE
After introducing the Cambridge Art Association as a
very fast growing healthy organization and pointing out the
importance of such a group to the people of the community
in which it is located, the next step is.to consider the
future.
A continued healthy increase in membership is selfevident as a desired goal of the association.
The increase
in membership is responsible for an increase in activities,
and an increase of activities results in a need for more
space.
The amount of space needed for these social and educational events may be determined from the estimated total
number of members.
The division of space for studios and
exhibitions may be arrived at from the number or members
interested in certain fields of art.
From the files of this
association the interests of the present 300 members are
as follows:
147
137
66
-
61
54
-
37
-
22
-
-
Oils
Water Colors
Etchings and Prints
Crafts
Portraits
Pastels
Sculpture
It is estimated, however, that if studio and work space
were possible, sculpture would increase to almost equal water
color or oils.
The New England Association for Contemporary
Sculpture has already tied itself quite closely to the group
by renting the gallery space for exhibits.
Other important activities that would require space are
photography and ceramics.
Combining these would immediately result in more ad.
ministrative and maintenance work.
In serving all the members, there is a need in this
organization for something quite new in art centers.
Since
the membership consists of some professionals in the field,
there is need for private studio space.
This would be a
small space where the professional artist could work while
classes were going on and where he and his work would be
undisturbed.
THE ESSENCE
IN GENERAL
The problem divides itself into two major areas:
1.
The area where art is
2.
The area where the art is seen.
created.
The first is the work, studio, conference and social
space.
This involves mostly members of the association and
requires a very functional and flexible area.
The second is primarily the exhibition space where the
creative work is displayed, viewed, studied, discussed, criticized and sold.
Here, not only the members are involved,
but, the public and art work itself play an important part.
The visual and esthetic factors involved here are many and
complicated.
In order to determine the important criteria
which may be involved in solving this problem, a study of
these visual problems involved in exhibition design was
made.
--
EXHIBITION DESIGN STUDY
4'
INTRODUCTION
The purpose of this study was to make it possible
to become familiar with the visual problems involved in
exhibition design.
It starts with the relationship between the spectator
and the object of art; continues with the visual relation
between the art and its surroundings and concludes with a
summary on illumination.
L
THE OBJECT
SPECTATOR RELATIONSHIP
The factor in the relation between the object and
spectator is primarily the scale.
This could determine
the distance the work of art should be seen.
When this
question of distance is mentioned there is an immediate
concern with the space in which this work of art is being
placed.
There is almost always a limit as to how great
that distance can be, however, too often that limit falls
way short of the desired distance, and it becomes necessary
to combat this in other ways.
The next consideration, closely linked with the scale,
is the angle of vision between the object of art and the
spectator.
It may be very disturbing to find a large heavy
piece of sculpture towering over you in space where you
could not get back far enough to see it as it ought to be
seen.
However, a light mobile piece of sculpture may work
here very well.
There must be consideration for pieces which blend
themselves to the touch of the hand.
In putting a piece
this low, the piece must be so placed that it does not get
damaged.
Small pieces placed just below eye level make it very
easy and pleasant to see.
This eliminates any effort to
bend over or strain to study the object.
I
12
Sculpture is most often made to be seen from all
sides and should be displayed in this manner.
Since you
can never really isolate a piece or work, one consideration
may be to always keep some type of background in close
enough relation that it may be controlled.
The desired angle of vision for viewing painting,
particularly oils, glass covered paintings, or any painting
with a reflective surface is quite limited.
The circulation of the spectator depends directly on
the character of the object seen, its scale, detail,
whether it ought to be touched and how long it is to be
viewed.
The one circulation factor which could stand a
lot of consideration in exhibition design is the factor of
fatigue.
Very few exhibitions are so designed that a per-
son can relax either physically or mentally and still enjoy
the work presented.
44
THE OBJECT
BACKGROUND RELATIONSHIP
In almost every case when viewing a piece or sculpture
or painting there is a visual background to which the work
relates.
To get the correct proportion or scale relation
between the art and the background may be very important.
If the background is definite but very large in comparison
to the piece of art work, much of the detail in the work
may be lost.
background.
The whole work may become a dot or spot on the
It would depend on the strength of the sculp-
ture itself as to when this occurs.
On the other hand, a
backdrop which is too small for the work would add nothing
to it.
Decreasing the size of the backdrop on a piece of
finely detailed work may bring out this detail more clearly.
The same problems occur when considering the relation
between the space volume and object.
If the space is de-
creased the detail of the work of art may be brought out
and etc.
A flexibility of height could be just as important
as a flexibility in the horizontal direction.
This space
between the pieces or groups play an important part.
There
is a great hazard in space which does not work with an arrangement,
but dictates to it.
Value and color are what make it possible for us to
distinguish form.
The value relation between the object
and its background are very important.
A dark object
placed on a light or white background will appear smaller
as the white will invade the black.
Ilk
5% I
It may also be desirable to keep the contrast down on a
finely detailed piece so that the detail is not lost.
Strong contrast is an eye catcher, but it can also be
fatiguing to the eye.
A time factor is involved here.
It might also be remembered that the lighter the background the darker the object will appear and etc.
Relative to the detail mentioned before if the background is too bright a piece could be lost entirely.
This
happens often when an object of art is placed in between
two windows.
The rules set up to determine exactly how
much contrast you can have between the object and the background are of little value to changing exhibits and lighting
conditions.
There is information available regarding this,
however.
The color of the background for a painting or sculpture is very important and should never be set when the
exhibits are changing.
The background color can completely
change the apparent color of the object, particularly if
it is close to neutral.
It
The advancing and receding of color is important.
could be unfortunate if the background color would fight
to advance itself in front of the object to be seen.
the other hand,
in
On
all cool colors may not be too pleasant
an exhibition space either.
A strong color may be neutralized if it is used on a
good texture for a background.
AA
rl
-A-
F
Textures displayed against each other can work very well,
however, a contrast of the surfaces is easier to handle and
It must be watched that the
a little more bold in effect.
reflections of a textured background into a reflective surface do not distort the shape of the object to be seen.
Almost every piece of art work has some sort of a visual axis.
A definite background can play a very important
part to this axis.
A strong horizontal backdrop could com-
pletely destroy an object placed in front of it that may
have a visual vertical axis.
On the other hand, if the con.
trast were great enough it could compliment it.
Regar'dless
of how it is handled, the relation is important.
The remaining important factor in the relationship between the object and its background is the relation of
materials.
Each material has its
own qualities and these
qualities can compliment each other.
An example may be a
very light wine or a wrought iron sculptured figure placed
in front of a large square of stone with all of its heavyness and solidity.
These different materials have different
surface textures, colors, values and density which- all play
an important part in the visual relation between an object
of art and its surroundings.
There is one remaining aspect in the object background
relation that has presented itself for many years and probably will for many more years.
That is the inevitable
frame in which thempainting or art work is placed.
The prupose of this object seems to be either to form an
outline or boundary for the art, to isolate it from the
surroundings or to become a transition between the art and
its
surroundings.
In either case it is a means of combating a background
surface which cannot be changed to meet the requirements
of the work of art.
As the background becomes more flexible
in its design the size of the frame has decreased.
As the
frame decreases in size the color relation between the object and its background must be watched more closely.
The grain in the wood of the frame must be taken into
consideration.
If the grain is not straight it could cause
a visual illusion and distort the shape of the painting.
Is
THE SEQUENCE
RELATIONSHIP
An important factor in exhibitions may be the sequence
or the geometry that is used in placing one piece of work
next to another.
This is particularly important when ar-
ranging the exhibit on a long surface or wall.
Many approaches have been used.
One may be to estab-
lish the eye level and place the horizontal visual axis of
each painting on this axis, another would be to line up the
base of the paintings or the tops, depending on the strip
lighting involved.
A more recent practice may be to organize the work in
groups which may set up a rhythm or some more interesting
organization which may contribute to the circulation pattern.
This may be done by relating the group according to
scale.
The scale between the objects is probably more im-
portant than the scale relationship between the object and
its
background.
Another way of choosing the work in its sequence could
be by the predominant color or colors that the art expresses.
In relation to either color, scale, or character one rule
that should be remembered is that the objects must either
compliment, support or be isolated from each other.
This method of displaying not only calls for a very
flexible system of space and background, but a very flexible
system of illuminating this art work.
w4
usamJ
.
I',
THE ISOLATED
PIECE
Although it is nearly impossible to really isolate a
piece, the possibility is approached when circulation is
allowed- to circle the object.
The interrelated piece in
space then becomes the important factor to study.
The
material and how it is handled is what gives the surface
quality and that is what we see.
This has undergone a change in recent years from aged
and low reflectance materials, such as bronze, copper, and
etc. to the possibles of chromium, stainless steel, aluminum and others all of which may have a highly reflective
surface.
Bringing out the most in a material plays an im-
portant part in the success of an exhibition of that type.
The form or shape is probably considered even more important in most cases.
The form of a material of a light
value is more distinguishable than one of dark value.
The
possibility of a greater change in tone and value is the
major reason for this.
Another consideration in form is
in defining it as curvilinear, circular, curvex, concave,
angular and etc. then bringing these out the best possible
way.
Bringing out these qualities of an isolated piece depends almost directly on how the work is illuminated.
is the next and all important part of this study.
That
ILLUMINATION
The main controversy in the lighting of gallerys and
It
exhibitions is natural light versus artificial light.
is possible to find many reasons for the use of either,
however, it seems to be generally considered true that the
combination of the two are very difficult to handle and not
always satisfactory.
There are times when natural light has a great advant.
age.
The intensity level of direct sunlight cannot be
reached by any other means.
This could be desirable in any
case where a clean sharp shadow is an asset, or where an
extremely high intensity is needed, such as bringing out
the transluscence of a piece of marble.
It is really a mobile light, which not only changes
direction but also intensity and color.
This could be con-
sidered an advantage in the case of much of the present
art work.
It 4dds the element of time to a piece of art.
Another advantage of direct sunlight is that it contains all the spectrum colors.
Color is directly depend-
ent on light and daylight gives a less limited field in
which to work and see.
The disadvantage of this type of light is
extremely hard to control.
that it
is
The same problems occur when
natural light is defused or used indirectly.
The peak of gallery attendance is from October through
May and this is also the period when there is the least
amount of natural light due to over-cast skies and the
angle of the sun.
Here artificial light would be needed
to suppliment the natural light.
Very often two sources and' types of light are desirable.
Here again, natural light is unsatisfactory.
cannot be controlled properly.
It
Objectionable glare is a
difficult thing to handle in the case of daylight or direct
sunlight.
Artificial light also has both advantages and disadvantages.
It is the only source of light there is at night
sufficient to light an exhibition although it is possible
to be used during the day.
Its color stays the same, the
intensity and number of lights can easily be controlled,
and it has a constant and multi-directional possibility.
Another advantage is that it may be used as either a
point source or a whole illuminous panel or ceiling.
Some of these advantages may some times be considered
disadvantages.
The element of surprise and time are not as
evident when using artificial light.
The spectrum range
is somewhat limited, however this is slowly being overcome.
The relation of a piece of art work to nature is also more
limited.
With the advantages and disadvantages of natural and
artificial light in mind the next step is determining the
problems involved in illuminating the art work.
Consider artificial light.
The determination of pro-
per intensity level, as well as color tonalities and angles
Al
of presentation is complicated by'the factors of esthetics
and others, which are not, as yet, quantitative weight in
Common denominators of
applied lighting calculations.
opinions as to what kind of lighting makes objects look
"best" are discernible neither by laymen nor even among
the experts.
How far one goes to dramatize an art object
without distorting its appearance is very important and
there are no hard fast rules ihich determine this.
Vision is accomplished through the distinction of difference of brightness and color.
It is possible to then
divide lighting into two parts: first, the consideration
of quality (color); and second, the distribution of the
intensity of the light.
The two go hand in hand.
brighter the 1-ight the less saturation the color.
The
When the
intensity is lowered the color approaches black and when
the intensity is raised the color approaches white.
It is
possible in this way to almost wash a color out completely.
This happens quite often in direct sunlight.
Color is an important factor when selecting types of
lighting.
A correct spectrum range should be considered
which would bring out the most of an object of art.
The shade and shadow is the next important factor which
depend directly on the light source.
If the edges of the
shadow are clean and sharp, the work may appear very hard
and strong.
A shadow which fades out at the edge may give
a softness to the art object.
This is usually accomplished
by the use of more than one source of light or a diffused
light.
23
There are some rules which may apply in some of the
past exhibitions.
The old one of applying a light to an
object at a 45 degree angle to give interesting shadow is
one.
There is another formula by Flaxman which states that
if an object is one-third light and two-thirds shadow it
will have a bold effect, and it if is one-fifth light and
four-fifths shadow, then the effect will be even bolder.
Leonardo da Vinci stated that the shadow should equal the
height of a figure.
This is the same as the old
45
degree
law and may not be the best for a contemporary sculpture.
It may also be said that generally two light sources are
better than one on three dimensional objects, and a difference in the intensity, type and direction of these two
lights are important.
Different textures call for careful lighting.
A sur-
face can appear heavy, light, large, small, harsh, or can
be almost obliterated due to the type and, direction of the
light source on it.
This texture problem is very important
in many contemporary paintings as well as sculpture-.
The light reflections on objects and paintings, particularly oils and glass-covered work is also not to be forgotten.
The angle of incidence should be so that the re-
flection does not spoil the effect.
Top left: Back lighting
applied on the light side of
the subject. It must be
strong and sharp. Right:
An edge of light on the dark
side makes this stand out
against a dark background.
It may now be quite soft
and subdued. Bottom: Two
lights of exactly similar
intensity, both striking the
subject at the same angle
from the front, produce a
very unsatisfactory, flat
effect, with awkward cross
shadows and double catchlights, making the face look
exceedingly broad and
square.
Note how the
light seems to change the
character of the model.
35
A
A
V
Top: This is a picture of a ball, though
it doesn't look like it. The light was
dead front and the effect is almost
completely flat.
Middle: With the light striking at an
angle of 450 from the side and above,
the ball begins to look round, but
as its shadow side is completely lost
there is a suggestion of the moon
about it.
Bottom: With a reflector placed at
the side and adjusted so that we get
this effect, we achieve a very good
illusion of roundness. The thing
really looks solid (see pages 16,25).
Top: When we put the reflector
further back, there is a back-lighting
effect that clearly indicates the outline and gives an excellent impression
of routndness, but the front of the
shadow is now perhaps rather too
dark.
Middle: Let us try a mirror instead
of the white reflector. This produces
a much more intense and mor.e
sharply defined outline of light.
Bottom: Now let's put back the white
reflector in its original place. We
can't get a much better effect of
roundness than this, on a flat piece of
paper (see pages 27-30).
-7
L
SITE FACTORS
25
THE PRESENT SITE
The general location in relation to the community
is very good.
It is located so that people may reach it
very easily during a lunch hour or while shopping in the
square.' It is also a very short walk from the subway and
bus station.
The immediate environment is quite undesirable.
street resembles a back street or an alley.
The
The Association
is located in the basement of a very poor structure.
It
is hard to find and the fire hazards are tremendous.
There
is only one entrance or exit and that is a stairway.
There
is no natural light and the existing lighting inside is
makeshift.
THE PROPOSED SITE
The proposed site for An Art Center for the Cambridge
Art Association has the same advantage of location as does
the present one.
It is no further from -the community square,
but the immediate environment is more desirable.
The location is adjoining the historic and spacious
old burial grounds between Church Street and the dead-end,
Farwell Place.
On either side of the burial grounds and
framing the view from one of the main streets in the city,
is the Christ Church and The Unitarian Church both important
historic monuments to Cambridge.
is informally landscaped.
The burial ground itself
It is open for public circulation
and will always be kept in good shape visually.
This gives
a permanent extensive view both toward and from the proposed art center which does not have to be owned or maintained by the Art Association and yet it is only two blocks
from the main square.
The cultural significance of the location of Harvard
University on one side and Radcliffe College on the other
must not be overlooked, along with the fact that the City
of Cambridge itself is one of the cultural centers of the
World.
Another advantage of this location is that it lies on
the zoning line between the residential area and the busi-.
ness district.
But, as a value to the city, it is a pro-
ject of public value, redeveloping a deteriorating section.
Ct
it
414
44
AL'
4I
-9
L
PROPOSED SPACE DEVELOPEMENT
ENTRANCE
2000 sq. ft.
Lobby and Administration .
LIBRARY and LOUNGE
500
.
sq.
ft.
150 sq. ft.
KITCHEN
AUDITORIUM
2000 sq. ft.
GALLERY
6000 sq. ft.
STUDIOS
Painting and Photo
2000 sq. ft.
Sculpture, Prints, Ceramics
2000 sq. ft.
STORAGE and SHOP
SERVICES
.
.
.
5000
sq.
1000 sq.
ft.
ft.
THE MUSEUM
OF MODERN
ART
19
NEW YORK NEW
19TELEPHONE:
Y RK
T
1 WEST 53rdWSTREET
CIRCLE 5-8900
CABLESt MODERNART, NEW-YORK
DEPARTMENT
OF ARCHITECTURE AND DESIGN
June 24, 1952
Mr. Robert A. Eckert
100 W6st Gate
M.I.T.
Cambridge, Mass.
Dear Mr. Eckert:
We are sorry, but we do not have very much information
available that would be of help to you.
The only thing we can send is the enclosed listing of
general information and specifications about our Museum.
Sincerely,
G rget e Methot
THE MUSEUM OF MODERN ART, U. West 53rd Street , New York, New York
February 10, 1949
GENERAL DESCRIPTION
The Museum of Modern Art, 11 West 53rd Street, is located on the north side of
the street, about 200 feet from Fifth Avenue, on a plot with 129 foot frontage
that extends 190 feet through to the south side of 54th Street. The six story
building covers 90 feet of the depth of the area. The rest of the land, which
measures 387'6" by 100'5" is used as a sculpture garden. The rock excavation
is 45 feet deep. Below the level of the street are included the auditorium,
lounge, receiving, packing and shipping, checking, photograph and storage spaces,
engineers' office, locker rooms, lavatories, and about two thirds of the mechanical equipment. At the ground floor entrance is the information and coat room
space. The rest of the ground floor is gallery space used for exhibitions. The
second and third floors are devoted to galleries for permanent and temporary
exhibits, and the northern side of the third floor has the sculpture gallery.
The fourth floor has the print room, library and stacks, dance archives, private
film projection room, and offices, and connects with the building next door,
21 West 53rd Street, which is used for additional offices and storage. The
fifth floor consists of offices. There are lavatories on each floor. The
sixth floor includes a kitchen and pantry which serves the Trustees' and
Committee Rooms and the Members' Penthouse. The Trustees' Room is separated
from the Members' Room by a sliding wall. The rest of the floor is given over
to terraces with partial overhead protection, rest rooms, and the cooling tower
for air-conditioning. The seventh floor, or penthouse proper, is used for
storage, with a tower above it for the elevator machinery.
GENERAL CONSTRUCTION
The building is of reinforced concrete construction designed to eliminate beams
and girders (except where setbacks occur above) and give flat ceilings. It is
divided into a series of 24 foot-square bays except for the western bays, which
include the elevators and are 32 feet wide. A setback on the third floor provides
a skylight over half of the sculpture gallery. Permanent walls are of cinder block,
covered with specia. nailing plaster, designed to allow nails to be removed without
cracking the plaster. All the inside walls are non-supporting and are changed to
meet new exhibition and office requirements.
EXTERIOR MATERIALS
White Georgia marble and blue terra cotta tiles are used for the facade. Stainless steel And plate glass form the ground floor front, Thermolux glass (spun
glass between two layers of plate glass which diffuses light and has insulating
qualities) set in alumilited aluminum sashes faces the second and third floors,
and the fourth and fifth floors have standard steel window sash.. The rear facade
uses aluminum at the entrance and glass brick on the second and fourth floors,
with clear glass windows between. Sixth floor terraces use tan tile. Circular
openings in the cantilevered roof slab are edged with alumilited aluminum.
INTERIOR MATERIALS
Floors: All floors are poured concrete slab with different finishes or coverings
applied directly to the concrete. The entrance area, corridor to the garden, and
stairway are of terrazzo with carborundum added to prevent slipping. Galleries use
special g ranitized linoleum. The lounge, auditorium and sixth floor have Klearflax
carpeting, offices use linoleum and the library and auditorium employ cork tile.
The fire tower stairs are of cement and lavatory floors are tile.
Walls: Acoustic plaster has been used on office ceilings and auditorium walls and
ceilings. Nall surfaces are covered with a special nailing plaster, designed to
allow the removal of nails without cracking the plaster. Temporary gallery walls
are made ing2, 4, and 8 foot sections of tempered prestwood on wood frames. Each
section when assembled consists of two sections of wall held back to back by
special clamps which make a wall approximately 6" thick. These sections of wall
are then put in place resting on a board to protect the floor, and another board
is placed on top, between the top of the wall section and the ceiling, to protect
the ceiling when the thumb screw arrangement is brought to bear agai.nst it. In
this way the wall is wedged securely in place.
LIGHTING AND VENTILATING
Many kinds of lighting are used, but skylights (except for the sculpture gallery)
are limited by the fact that the offices are over the galleries. Gallery lights
could not be permanently fixed because of the flexibility allowed by temporary
gallery walls. Strip or spot-lighting devices are toggle bolted or "buttoned"
onto the ceiling in various locations to fit any arrangement of walls. Standard
trough lights and troughs with "Birdseye" bulbs which allow control of direction,
and special spotlights are all used in the galleries. Fourth and fifth floor
corridors have glass and metal stock fixtures, and offices use for the most part
standard florescent strip fixtures. The sixth floor has flush ceiling lights,
and the Library and Trustees' Room have specially designed lighting fixtures.
The stairway to the auditorium and the second and third floor landing have Zeon
tube lighting.
Anemostats a re used throughout the building. Fresh air brought from the outside
is fed to ducts which bring the air to the anemostats, which uniformly distribute
the air. The ducts feeding the anemostats can also be connected to cooling units
in the basement so that the anemostats can distribute the cooled air. At present
the galleries and the auditorium are the only air-conditioned parts of the
building. The basement and mezzanine are ventilated with filtered air, but have
no temperature control.
HARDWTARE AND DETAILS
Main stairway is made of glass panels with stain handrail of aluminum, alumilited
to prevent oxidation. Door pulls and plates are standard throughout the office
part of the building, stock patterns, white bronze, chrome plated. Stainless
steel horizontal push bars are used on the ground floor front doors, aluminum on
the rear. Office doors are flush birch panels. Window frames and door frames
are stt inless steel on the ground floor and elsewhere aluminum or steel.
EXPANSION
21 West 53rd Street
In June, 1946, the Museum acquired the building next to it on the west, 21 West
53rd Street, which it now uses for additional space. It was connected to the
Museum building on the fourth floor and basement, and at the loading platform
on the main floor. It is a.five story house formerly used as a residence. At
present the basement is used for storage, the first floor for mailing and
shipping, the second floor for storage, the third and fourth for offices, and
the fifth for storage.
Proposed New Wing
Because of the great necessity for increased space, which the addition of the
residence at 21 West 53rd Street only partially satisfies, plans have been
prepared for an annex, which the Museum hopes to build within the next few years.
This wing would be used chiefly for exhibition space, since only a fraction
of the permanent collection can now be displayed. It would also include a
restaurant and storage space.
-3MUSEUM OF ?CDERN ART, 11 West 53rd Street, New York, N. Y.
AREAS IN SQUARE FEET
The approximate area of the Museum in square feet is as followsz
sub--harement:
bassentr~:,mez.an..re:
6300
14000
8500
round floor
incl. east
passage):
second floor
gallery:
third. flor:-
.gallery:.- :
fourth floor
fifth floor
sith floor
Total
10400
11125
31125
10000
10000
87,525
This breaks down into the following areas:
Exhibition Space
Basement and lobby
first floor large gallery
first floor small northwest gallery
first floor hall
second floor galleries
third floor gtlleries
sixth floor lobby
Total
2,390
2,300
440
1,056
11,125
11,125
900
29,386
Lecture and Study Space
auditorium
preview room
dance archives study room
library
print room
architecture and industrial design
study rooms
Total
3,600 (496 seats)
700 (54 seats)
192
1,400
504
400
6,796
Offices
fourth floor
fifth floor
3,000
6,325
750
sixth floor - Trustees' Room
sixth floor - Committee Room
300
Total
10,75
Storake Space
sub-basement
basement
mezzanine
second floor
fourth floor
fifth floor
sixth floor
seventh floor
300
375
3,454
105
200
500
300
3,200
Total
~8,434
-4Shop and Other Services
.carpenter shop and spray room
framing and mounting
engineering and electrical
receiving and shipping
1,620
1,050
6,300
720
SUPPIZEENTARY SPACE
21IUest 53rd Street
mailroom
reveiving And shipping
offices
storage
640
525
2,188
2,720
681 Fifth Avenue
Storage
classrooms
3,000
8,000
Lincoln Storage Warehouse
4.,540 cubic feet
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BIBLIOGRAPHY
Books
Coleman
Museum Buildings
American Association of Museums 1950
Dorner
Way Beyond Art
Edman
Arts and the Man
Kat z
World of Color
Luckiesh, Mathew
Color and Colors
Chapman and Hall, Ltd.
-
1939
Color and its Application
1921
D. Van Nostrand Co.
Light and Shade
D. Van Nostrand Co.
-
1916
Visual Illusions
D. Van Nostrand Co.
Melton, Arthure W.
Problems of Installation in Museums of Art
American Association of Museums - 1935
Museum of Science and Industry N. Y.
Exhibition Techniques
N. Y. Museum of Science and Industry
-
1940
18
Bibliography
Books
(Cont.)
(Cont
Moon and Spencer
Lighting Design
Periodicals and Reports
Art Gallery Competition
Architectural Forum
July,
-
1939
Harrison, Lawrence S.
Museum Lighting Studied in Laboratory
December, 1948
Architectural Record Kelley.
Thomas S.
Methods of Illuminating Art Objects and Pictures
Illuminating Engineering April, 1949
Lighting Recommendations from Westinghouse
Museums
Portland,
-
Lighting U.
S.
Oregon Museum
Modern Art Museum
Architectural Forum
-
August, 1939
MUSEUM OF MODERN ART Dept. of Education
Creative Art Bulletin
-
Fall, 1951
Report of the Committee on Art Gallery Lighting
Art Gallery Lighting
Illuminating Engineering
-
January, 1945
Wright, F. L.
Architectural Forum
-
January, 1946
r